Sculpture 2

“These are machines that extends our sensory apparatus, our ability to map the world…”

The Expanded Field

Until the twentieth century representation of the human form was central to sculpture. In modern and contemporary art, the scale of sculpture is directly related to the human form and a phenomenological experience for the body. This course will parallel the history of sculpture as a temporal and a spatially dynamic form. We will explore the mechanical form and functions of the body, the transformation of materials and the physical presence of temporal architectonic form.

1. Lesson in Welding & Sewing Light box and Work Apron

Each of you will learn to weld cut and bend steel. The cube will be made with steel rod. Welding safety will be gone over. Basic skills in sewing will be gone over and you will each make an apron.

2. For the Body /Transformed, Mimicked

In the first part of this course we will investigate the mechanical form as it relates to the body. We will explore the advances in mechanization and automation in the first quarter of the century that fostered a change in the way artists viewed the world in motion. Tom Flynn’s essay, "Welcome to the Machine," will provide us with the historical examples of temporal works that mimic industrial fabrication and mechanization.Metal fabrication, both welding and pop riveting, and paper and cloth casting will be covered.  For the project you will fabricate a work that directly fits on to or mimics the function of a body. A work based on clothing or support systems, a breathing machine or a set of arm extenders, a work that uses technology to extend your ability.

3. Recycle Re- Invention

In the second project you will recycle or re-invent an object or a material. You will re-fabricate a form so that it has a new and improved life and perhaps a completely poetic or new “higher level” function.   Krause’s essay “The Mechanical Ballet’ will give historical examples of early 20th century artist such as Calder, Tinguely and Rauschenberg who reused ready made materials. Duchamp’s short essay “The Creative Act” will be discussed and used as a prompt to begin your work. You will each do a presentation on a Contemporary Artist/Architects project. You may use any material for the project. It should incorporate metal and skills we are covering in the course.

4. The Expanded Field: In-Material Objects

In the last project we will investigate phenomenological experience. The 1972 Krause essay, “ Sculpture in the Expanded Field” will give you a historical perspective on works that are theatrical and installation based.  You will be asked to make a work that expands the field of sculpture, moving it from the pedestal in a gallery to the world by making something that is architectural in scale and scope.  Your materials/form will be transportable; we will use cloth, rope and wood or metal frames to make the work. You will be exposed to numerous artists working in this vain such as James Turrell, Robert Irwin, Krzysztof Wodiczko, Alfredo Jaar, Janet Cardiff and others.

Calendar - Sculpture 2                                     2012
The Expanded Field

January
23. Intro- Sculpture in the Expanded 
Split into groups:
Group 1. Weld 
Group 2. Sew-cut cloth
Reading:  The Body in Three Dimensions “Welcome to the Machine”.
25. Lecture /Discussion “Welcome to the Machine”, From the Russian Constructivist to the Futurist, Watch: “Man and Mask”
Review the assignment:  For the Body Transformed/ Mimicked
Group 1. Weld
Group 2. Begin Sewing.
26.Thursday-New students woodshop training. 1pm
27.Friday:
Group 1. Weld
Group 2. Sewing
Reading: Extreme Fashion the Body Transformed

30.Lecture /Discussion Extreme Fashion & Contemporary Artist
Group 1. Weld pieces
Group 2. Sewing 
Febuary 1. SWITCH
Group 1.Sewing 
Group 2-Welding
3.Friday:
Group 1-Sewing
Group 2 Welding      

6. Finish Welding and Sewing. Look at Aprons and Light Boxes
Review Assignment- For the Body/ Transformed, Mimicked 
Begin models/drawings.
8. Meetings with students. (See List) 1-4pm  
 Make drawings and models for pieces.
Meetings with students. (See List) Begin work for projects in class.
9.-10. Thursday/Friday: Meetings with students. (See List) 1-4 pm
+ 3 hours of work!
 
20.Work time
22. Work time
Thursday/Friday: 3 hours of work!
 
27. Work time.
29.  Work Time
Thursday/Friday: 3 hours of work!

March 
5. Work time
7. Critique: FOR THE BODY Transformed/Mimicked
Introduce: Recycle Re- Invention
Reading: Krause: Passages in Modern Sculpture  “The Mechanical Ballet”
“The Creative Act” Marcel Duchamp

Break

19. Lecture/Discussion- “The Mechanical Ballet”
21. Meetings with students (See List)    
Thursday/Friday: Meetings with students (See List)

26. Work in class.        
28. Work in class
Thursday/Friday: 3 hours of work!
 
April
 2. Work in class.
 4. Work in class.
Thursday/Friday: 3 hours of work!

9.  Critique Re –Invention
Reading: Sculpture in the Expanded Field- Krauss
11. Lecture and Introduce Final Project       
James Turrell, Krystof Wodiczko
Thursday/ Friday: Meetings with groups1-4pm

16. Work time 
Discussion/ Sculpture in the Expanded Field
18. Work Time
Thursday/Friday: 3 hours of work!
 
23. Work time
25.Work time-LAST DAY OF CLASS

April 30- May 4 -Reading week, Work time
May 9-Final Crit

 

Lessons In Welding and Sewing
Light Box and Work Apron

Due Feb 6

This lesson will give you the basic skills and safety procedures for welding and sewing, the 2 processes you will use to fabricate work this semester. You will need to be checked out for safety by Laura Dalton.

Light Box
1. Learn to use the metal chop saw and band saw and cut steel rod to make a cube.  
2. Learn to weld pencil rod steel with the Mig Welder
5. Learn to weld sheet with an Oxy Acetylene Welder.
6. Weld a cube out of steel rod and weld a tab to the face of the cube.
7. Practice using the Plasma cutter. Make stencil if you wish.

Apron
Each person is required to make a  heavy duty work Apron. A pattern will be provided.
1.Cut out a pattern, learn to square and cut cloth with pattern attached.
2. Learn to run a sewing machine, basic troubleshooting, threading a bobbin.  Learning to sew each type of stitch with various sizes.
3.Learn to seam cloth and prep for assembly.
4. Pin and sewing assembly 
5. Sew straps and pockets
 
GROUP 1
WELD- Jan 25, 27, 30
SEW- Feb 1, 3, 6

GROUP 2
SEW-  Jan 25, 27, 30
WELD-  Feb 1, 3, 6

FRIDAY WORKSHOP WITH LAURA 1-5PM
GROUP 1 WELDING Jan 27
GROUP 2 WELDING Feb 1
 
PLEASE NOTE: WELDING EQUIPMENT IS AVAIABLE ONLY DURING THE SCHOOL DAY.
YOU MAY NOT USE THE EQUIPMENT ANY OTHER TIME.
SO, You must work on projects on Fridays from 1-5 and or Tuesday/Thursday 1-5.
 
Group 1 WELD/SEW
Barone, Marisa Rose
Grotenstein, Laura Hollis
Jackson, Hamish Dale Mercer
King, Allison D
Kominos-Marvell, Wren Elliot Nicholas
Lincoln-Vogel, Auden Michael
Maita-Keppeler, Maria Sakiko

Group 2 SEW/ WELD
Mondello, David Kelleher
Renison, Charlotte Rachel (Charlie)
Rodrigu, Jose Luis (Jr)
Tiffany-Appleton, Sarah Catherine
Stockton, Megan Rose
Spencer, Gillian Fionaez

FOR THE BODY
Transformed Mimicked
Due: March 5-7

In Motion-“ The futurist movement, founded in Italy in 1909 by the poet Filippo Marinette- and later attracting the artists such as Umberto Boccioni-sought means of over turning the ossified, orthodox structures of academics and replacing them with modalities of a machine aesthetic which celebrated speed, power, modernity. As a body born from a fusion of the organic and the technological, the man as a machine moving through space, the figure can be read as the quintessential twenty first-century body.” Flynn

Prompt:
We will look at advances in mechanization and automation in the first quarter of the century that brought about a change in the way that artist viewed the world and in the way in which they expressed that view.
In your work, look at the mechanical essence of the body. Extract, abstract or reference anatomical forms. Consider making machine like forms that have human proportions- consider making a mechanical object that extends our bodies possibilities.
Look at the structure of clothing and how we use them.
Read Flynn essay: Welcome to the Machine and Extreme Beauty

1. Consider how Photography affected sculpture and the work that preceded, Futurism, Constructivism and cubism. Look at designed/artist from Delaney’s constructivist costumes to post WWII Dior.
   How do artists through out time configure bodies? How does fashion reform the modern body?

2. The Robot and the surreal body come into play after the 1st World War destruction when literally hundreds of men return from war with artifical limbs.
   
   A re-engagement with the notion of the ironic and surreal emerges again the fashions of McQueen, and Chalayan in the 1990 though 2008.
   How and why does fashion mimic history and reflect the time?

3. How are our bodies perceived, received and altered by what we wear today?  What are our surrogate bodies?
   How do the things we have and wear, purchase extends our abilities?

Materials: Your primary materials will be metal and cloth. You work must include one of these.
The metal can be welded steel or poprivited aluminum. You may use recycle parts for the metal. Bolts of muslin are available as are recycled parachutes and clothing.

Fabrication Methods: For those who took Sculpture 1, all methods covered are available. You must use 1 newly learned metal fabrication technique riveting, welding, plasma cutting, and 1 sewing method.

Scale: The scale of the work must be in relation to your body. That is, the body can fit into the form even if the object will not be actually worn.
If it is a wearable, modeling this or a performance may be part of the work.

Planning and Working Process:
Make at least 3 sketches of ideas you are interested in, take all or one to a fairly refined point. Bring images to your individual conference meeting with me Feb 8,9,10 to discuss the concept, fabrication process, materials and to make a time line for production.
You will need to build a model so you can further develop the piece.

Time line:
Production: Feb 6- March 5
Crit: March 5 and 7

References:
Readings and Essays
Flynn, Tom. "Welcome to the Machine," The Body in Three Dimensions
Koda, Harold –“ Intro”-Extreme Beauty The Body Transformed
Anthony Gormley
Cindy Sherman
Tim Hawkinson

Artists/Exhibitions
Cindy Sherman, Sonia Delaunay, Alexander Mc Queen, Isa Maki,
Rauschenberg, Pelican
Yinka Shonibare- http://www.yinkashonibarembe.com/present.html
Lucy Orta http://www.studio-orta.com/
Rebecca Horn http://www.rebecca-horn.de/pages/biography.html
Tim Hankinson http://www.whitney.org/exhibition/feat_hawk.shtml
Jana Sterbak, http://www.gallery.ca/en/see/collections/artist.php?iartistid=5230
STELARC http://www.stelarc.va.com.au/
Yayoi Kusama http://www.yayoi-kusama.jp/e/information/index.html
Nick Cave http://www.jackshainman.com/artist-image731.html
Extreme Beauty: http://www.metmuseum.org/special/Extreme_Beauty/body_transformed_more.htm#first
Extreme Textiles:
http://www.cooperhewitt.org/exhibitions/extreme_textiles/index.asp
The Fabric Workshop
http://www.fabricworkshop.org/artists/video/suh.php

 

Rauschenberg- Riding Bikes

RE-CYCLE AND RE- INVENTION

DUE: APRIL 9

“Whether Mr. Mutt with his own hands made the fountain or not has not importance. He CHOSE it!
He took an ordinary article of life, placed it so that its useful significance disappeared under the new title and point of view- created a new thought for that object.
As for Plumbing that is absurd. The only works of Art America has given are her Plumbing and her bridges.”
Marcel Duchamp, Speaking about the Richard Mutt Case- “The Fountain”

Prompt:
What does a spectator bring to a work? If you use a readymade is the work about that thing or is it still the thing? (Is the Plumbing only Plumbing?)
What objects have symbolic power in society and your life? Do some have more than others?
Why did artist begin to look to the readymade and now recyclable objects as potential art materials? 
What motivation and or ideas circulating in the 1960 and 70’s that further propelled this?
Why is our contemporary society preoccupied with recycling?
What materials can you find that would make an impact on the possible reuse system?
 How does Tinguely objects then become performers?
 Is Oldenburg using the ready made or mimicking the world?
When Kienholz assembles his work, what effect does the refuse have on our looking?

Materials: You are encouraged to gather materials that are used; this can include furniture, clothing, household objects.
Metal and or cloth should be used in some aspect of the fabrication. All other materials can be used that are non-toxic and safe to disassemble and reassemble.
Things you cannot use: TV’s taken apart, Computers taken apart, electrical wire exposed,
Plastic and or fiberglass.

Places to Get Materials:
Scrap
The Rebuilding Center
Goodwill
The Bins
Hippo Hardware
Resale Store (Habitat for Humanity)
The SU old cloths box/Your Laundry room
Recycling Bins (paper, plastic, metal)

Fabrication Methods: Incorporate some skills covered in class, pop riveting, welding
Scale: THIS WORK CAN BE NO BIGGER THAN 24”

Planning Process: Gathering materials will be vital.
Sketches and meetings with me before you proceed!

References:
Readings: Krauss, Roslyn Passages in Modern Sculpture The Mechanical Ballet
The Creative Act Marcel Duchamp

Student Presentations:
Krause-Passages in Modern Sculpture -Mechanical Ballets: Light, Motion, Theater READ THE ESSAY, LOOK AT THE IMAGES OF THE ARTIST WORK I HAVE PROVIDED.
HAVE A FEW THINGS TO SAY THAT ARE IN THE READING+ LOOK AT THE WORK OF THE ARTIST AND CONDISER WHAT YOU MIGHT ADD.
+ How does this work relate to "The Creative Act"?

- MORRIS GREEN GALLERY
- RACHENBERG/ CUNNIMGHAM /CAGE HAPPENINGS http://arthistory.about.com/od/from_exhibitions/ig/rauschenberg_combines/rrc_02.htm
- PICABIA
- MOHOLY –NAGY LIGHT PROP
- AUTOMATONS-THE CLERCK-MECHANICAL DOLL
- CALDER MOBLES
- CALDER circus http://www.calder.org/
- TINGLEY http://www.tinguely.ch/en/exhibition/index.html
- OLDENBERG STORE
- HACCKE
- JUDSON THEATER
- ROBERT RAUSCHENBERG / PLECAN +EXPERIMENTS IN ART AND TECHNOLOGY (E.A.T.)

- REBECCA HORN
- REBECCA HORN PEACOCK (RELATED TO EISENSTIENS FILM)

LIST of Artists/works:
Christian Baltanski/ Annett Message
Charles LeDray http://www.whitney.org/Exhibitions/CharlesLeDray/Images
Nick Cave http://www.jackshainman.com/artist-image731.html
Song Dong http://www.moma.org/visit/calendar/exhibitions/961
Janet Cardiff and R. Miller http://www.cardiffmiller.com/
Rachel Whiteread: House
Jeanne Antoni-Sleep
Brian Campbell http://www.flickr.com/photos/bikeportland/3852720315/
Samuel Mockbee http://www.ruralstudio.com/sambomemorial.htm
Scrap House http://www.scraphouse.org/

 

Sculpture in the Expanded Field

Sculpture is a medium peculiarly located at the juncture between stillness and motion, time arrested and time passing.
Rosalind Krauss

 

Expanded

A large number of postwar European and American sculptors became interested in both theater and the extended experience of time. This expanded field includes kinetic and light art, environmental works, architecture, as well as happenings and performance art. Real time and real motion was central too much of the work then and has remained to be at the core of our experience of installation works now.  As viewers we are most often asked to perform, move, reconsider our position in the space and in relation to the world.

You will read and discuss issue in Krauss’ essay such as phenomenal and spatial representations. You will create the piece for a particular space either as a work that directly dialogues with Architecture (an axiomatic structure) or landscape (a marked site).
For your work you will use a limited palet of  material including cloth, string, wood or metal structures that reconfigure the space.

Prompt:
The concept of gestalt, an idea the sculptor Robert Morris focused on, that we have a bodily relationship with forms, no matter how abstract, that occupy our bodily space.
Make a work of art that literally confronts us, that is in our space so me must walk though it not around it, one that causes a bodily reaction.
Given that this is a public space, this is a work that can have an effect on the population that encounters the work.

Materials:
Cloth,sheeting, screens, seamless, plastic sheeting, ropes,wood ploes, framing, metal structures 
Air/wind, sound, sun/shadows, lamp post light, water (rain), steam

Space Around Art building:
Art builing out side walls and porch, path, hill, edge of the canyon
Stuctures you can attach to- Porch roof, pillars, rail on the side porch, lamp posts.
YOU MAY NOT-Tie things to trees or dig holes in the ground. You may not use any other place on campus.

Planning/Time Line:
Meetings with Gerri to work on Proposals/Drawing Models April 11-May 9
Project due May 9

Readings:
Rosalind Krause “ Sculpture in the Expanded Field’*
“The History of Sculpture coincides with the development of two bodies of thought, phenomenology and structural linguistics, in which meaning is understood to depend on the way that any form of being contains the latent experience of its opposite; simultaneity always containing an implicit experience of sequence. One of the striking aspects of modern sculpture is the way in which it manifests its makers’ growing awareness that sculpture is a medium peculiarly located at the juncture between stillness and motion, time arrested and time passing. 
From this tension, which defines the very condition of sculpture, comes its enormous expressive power.
Rosalind Krauss, Passages in Modern Sculpture

In-Material Reference- choose one:

Sound:
Janet Cardiff and R. Miller http://www.cardiffmiller.com/
Rolf Julius- http://www.momak.go.jp/English/exhibitionArchive/2007/353.html
Christian Marclay- http://www.whitecube.com/artists/marclay/

Light/Space:
Dan Flavin- http://www.nga.gov/exhibitions/2004/flavin/introduction/introduction.shtm
James Turrell http://www.pbs.org/art21/artists/turrell/index.html
Robert Irwin- http://www.whitecube.com/exhibitions/robert_irwin_my/light_and_space/
Olafur Eliasson http://www.olafureliasson.net/

Projection:
Jenny Holzer http://www.pbs.org/art21
Alfredo Jaar http://www.pbs.org/art21
Krzysztof Wodiczko http://www.pbs.org/art21
Bill Viola http://www.billviola.com/
Gary Hill http://www.vimeo.com/user2002575

Architects/Artists
Simparch http://www.simparch.org/
Young Architects Program: http://www.moma.org/visit/calendar/exhibitions/945

Cloth/String/Space
Los Carpintero http://www.bombsite.com/issues/78/articles/2441
Tomas Saraceno
http://www.core.form-ula.com/2009/03/22/profile-tomas-saraceno/
http://www.air-port-city.org/
Lydia Papie http://www.lygiapape.org.br/eng/obra00.html

Installation and Performance Spaces
Venice Biennale
http://universes-in-universe.org/eng/bien/venice_biennale/2009/tour/making_worlds
Gas Works: http://www.gasworks.org.uk/
INVA http://www.iniva.org
The Mattress Factory http://www.mattress.org/

Evaluation:
All students are required to follow the following guidelines for full course credit.

• Attend all scheduled class meetings.
• Work efficiently and attentively in class.
• Contribute to critiques & discussions.
• Do the readings review the artist and take notes.
• Make models and drawings for each project.
• Complete all assignments.
• Follow safety regulations and clean up work area before leaving.

I keep a record of each students work, their progress, strengths and weaknesses. I will dialogue with each of you in class daily while working.  We will have individual meeting/conferences to plan each project. This occurs 4 times during the semester by appointment. We will have group critiques after each project is complete. I will make a point of giving you feed back on the final work during the group crit. I keep a record our critiques for each assignment and I photograph the finished work for my records.
Please note that, my response to your work will mainly come in verbal form. If at any time while making the project or when the project is complete you want or need an individual conference, I am available out side of class, Monday from 9-12, Tuesday/Thursday 1-4.

I use the following criteria in evaluating student work:

Attendance 50%
The strength of a group studio art course comes from the interaction of ideas and observation of others. In missing the class, a student undermines the effectiveness of the course and the educational experience of all.

Each student must arrive prepared to work with appropriate materials for the assignment, project, exercise, critique, discussion, or demonstration for that particular class day. Unprepared students may receive an absence for the day.

Attendance and active participation in critiques is critical to learning in the studio classroom. All students are expected to contribute verbally by commenting or questioning aspects of the work being critiqued. Attendance at critiques is mandatory. Any student who knows they will be absent from a critique must contact the instructor prior to the critique.
A self-critique and or a pier review will be done for each project. This includes information on the technical skills you learned, the conceptual idea you worked with, and the artists and readings we covered.

1. You must be in the studio by 1:15. We will begin the class with a discussion and or presentation. It is vital that you are here for the beginning of the class.
   If you are more than 30 min. late for a class with out a reasonably excuse you will be marked absent.
2. Participation in the classes including contribution to dialogue, taking notes on technical skills or artist presented.
3. Coming prepared to work on projects in class. 

 Assignments 40%
Students should expect to spend 6 hours per week in class and approximately 4 hours out side of class working on assignments. The studio classroom is open for student use Tuesday, Thursday and Friday afternoons.
All assignments will have a short reading and a list of artist to be read/reviewed prior to the introductory lecture. The readings will guide the conceptual framework and content of your work.
For each assignment a series of technical skills will be gone over in class.

We will have individual conferences discussing preliminary sketches and models for the assigned projects.

1. Turn in projects on time. Your grade will be lowered 10% for each week the project is late.
2. Generation of basic ideas and exploration of solutions. This includes drawings, models and exploration of materials.
3. Visual organization of your forms. Your ability to follow a system of design.
4. Conceptual thought process put into visual forms. Your ability to convey the ideas covered in the assignment, the readings and artist referenced.

Safety and Etiquette 10%
Your safety is of primary importance to us. We will train you to use all equipment and the shop properly.  You must attend safety training for all hand tools, electric tools and the shop equipment at the beginning of the semester.  If you do not attend the training session, you will not be allowed to use the tools. Laura will check and evaluate your ability to use tools properly.
This is a communal studio. You many not leave any materials out on tables or on the floor after classes. If you are working on a large-scale project, make sure Laura and I am notified and help you to find the proper placement and storage of the work.
Chronic failure to clean up your work area and properly store materials will result in a 10% drop in your grade.
Failure to follow our safety regulations will result in a 10% drop in your grade and or dismissal.
Unsafe practices with equipment, removal of equipment from the studio, allowing others not in the course to use the equipment, or using the equipment under the influence of alcohol or drugs will result in your dismissal from the course.

1. Keep the studio and shop clean and clear of obstruction. 
2. Sweep up and through away excess materials from your area when finished working.
3. Put away tools.
4. Store your work properly.
5. Do not dispose of flammables, wax, paint or plaster in the sink!

EXPECTATIONS:
You Spend 3-6 hours outside of class time working, drawing or reading for the class.
You do your work in the studio, not at home
You do your work for yourself AND BY YOURSELF.

SAFETY and SHOP TRAINING:
 All students must have training in the wood shop and the welding facility.
You must sign a form stating that you have been trained in all of the tools covered and know all of the hazards in the studio.

Training for student taking Sculpture II without taking Sculpture I is MANITORY!
You will need to train in the woodshop the first week of classes.
You must sign off on woodshop training before you can proceed with the class.

All Sculpture II students must learn to weld, cut steel with a chop saw, use a plasma cutter and safely grind and polish steel. You must sign off on welding training before proceed with the class.

OUR STUDIO RELATIONSHIP:
I am a resource and a reference for you I have provided you with:

1. A set of studio and intellectual problems to work through.
2. A studio and facility to make work in.
3. Supplies, resources, and tools.

We are all ultimately collaborators.
I will aid you in fabricating what ever it is you wish.

STUDIO TIME:
The studio shop and welding facility is open from10-6 everyday.
Laura Dalton can assist you all day Tuesday, Thursday and Friday after 1pm.
The studio is open to you 24 hours a day. You will get card access.
The cabinet in the studio will hold hand tools and other equipment.

CLOTHING FOR CLASS:
Long Pants-cotton!
Thick long sleeve shirts!
Jackets!
Closed toe shoes!
SOXS!

MATERIALS:
Put your name on a locker and please share it with a classmate.
Get a lock for your locker!

1. Sketchbook                                                                               
2. Work gloves (particularly if you want to weld!)
3. Graph Paper and trace paper
4.  Pencils

We provide most if not all materials.
If need to purchase other materials during the semester: 
Sources for hand tools: Fred Myers, The Tool Peddler. For wood: Brown Lumber,
Builders Square. For Steel: The Steelyard. Plastics: Tap Plastics, Metric Plastics.
For odd things: Wacky Willies, Hippo Hardware.

You will find the phone numbers on the cabinet next to the phone.